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Sony at NAB 2019: Powering today, transforming tomorrow

Posted: 07/03/2019

Sony will return to NAB 2019 to unveil its latest portfolio of products, services and solutions designed to empower and future-proof the success of broadcast and media customers in today’s competitive landscape – on stand C11001 from 8th to 11th April.

Sony’s next-generation motion picture camera system, VENICE ,has been used for principal photography on a new political thriller ‘Official Secrets’, directed by Gavin Hood, and produced by Ged Doherty, Elizabeth Fowler, and Melissa Zuo. Entertainment One (eOne) produced and financed the film, with Screen Yorkshire and Zuo’s company GS Media. Boasting an impressive cast including Keira Knightley, Ralph Fiennes and Matt Smith, and captured by cinematographer Florian Hoffmeister BSC, the feature made its debut at Sundance Film Festival. It is scheduled for distribution later in 2019 through eOne across its territories. Sierra/Affinity represents all other international territories outside the US.

Sony will be upgrading the capabilities of its next-generation motion picture camera system, VENICE, by introducing High Frame Rate (HFR) shooting, advanced remote-control functionalities and Cooke/i3 and Zeiss extended metadata support, as part of its latest firmware update. Following the recent release of VENICE’s firmware Version 3.0 and the upcoming launch of its Extension System (CBK-3610XS), which was developed in collaboration with James Cameron’s Lightstorm Entertainment and is currently being used to shoot the AVATAR sequels, the latest upgrade will offer filmmakers even greater creative freedom, flexibility and choice.

Broadcast Electronics Limited are pleased to announce the launch of CCC-1, a unique device interfacing Sony Remote Control Panels (RCP) with the colour correction features of Standards Converters including the Blackmagic Teranex product range. Putting colour correction at the fingertips of vision engineers.

The comprehensive range of useful features offered by Sony’s DWX Generation 3 Digital Wireless system has inspired Stage Sound Services to invest in a further 24 channels of DWX, bringing its overall channel count to more than 150.

Romanian broadcaster PRO TV, part of CME media and entertainment network, is the first European customer for Sony’s new HDC-3500 live production camera. PRO TV has invested in eight HDC-3500 camera chains that will be used for live entertainment and sports productions, working with HDCU-3100, the IP enabled Camera Control Unit. They also have chosen the PXW-Z280 and PXW-Z150 camcorders for their mainstream and local studio productions, alongside Sony’s dual channel UWP wireless microphone packages.

The brand new feature film ‘MAGNETIC’ by Nuit de la Glisse director Thierry Donard premieres at the Cinema Grand Rex in Paris on November 30th. Extreme sports fans will be able to experience this ambitious project shot in some of the world’s most extraordinary and remote places, from New Zealand to Pakistan and Tahiti.

Premium automobile manufacturer Audi has chosen Sony’s CineAlta Full-Frame system camera VENICE to shoot the commercial of its first all-electric car model, the new e-tron. The commercial was produced by KROPAC MEDIA GmbH and shot in a quiet and natural environment to highlight the car’s practically silent engine.

Seven of Sony’s flagship cameras have joined Netflix’s Post Technology Alliance, a programme designed to give filmmakers confidence that equipment meets Netflix’s technical and workflow requirements, while also offering the highest level of innovation, support and customer service.

BSC Expo returned to the Battersea Evolution on Friday February 1st and Saturday 2nd. It is a busy and friendly event though this year in need of some temperature control: exhibitors around the entrance area were uncomfortably aware of the wintry conditions outside and the main hall was in need of cooling.

Twilight Imperium is a board game all about strategy and backstabbing. Known for its length of gameplay, the team behind Shut Up and Sit Down decided to deliver a mammoth 10-hour live broadcast, streamed to Twitch. Matt Lees is here to tell us how it went down.

My name is Daniel Jones, and it is no accident that I’m currently studying BSc (Hons) Television and Broadcasting at the University of Portsmouth. Since completing GSCE media studies I have been constantly questioning what I watch with questions such as, “Wow, how was that filmed?” or “That looks amazing, I wonder how long that took?” It should come as no surprise that I made it a big focus of mine to get myself some real work experience to give myself some answers to these production questions.

A big challenge facing owners of legacy content is rationalising and archiving their tape and film-based media in cost effective and efficient ways, whilst also adding value. Normally the result of this is to find a low cost means of digitising the content – usually leaving them with a bunch of assets on HDD. But then what? How can content owners have their cake and eat it?

Available since 2016, the Sony PWS-4500 is a solid-state UHD/HD live production server designed for use in applications such as sports, studio or stage events. The target applications are master recording and advanced replay operations for live production companies for whom the server's ability to record the output from high frame rate cameras and deliver easily controllable slow motion is a major asset. The PWS-4500 is already in use by many prestigious live production companies and broadcasters around the world.

First announced at NAB 2016, the Sony HDC-4800 is a studio camera system capable of shooting 4K/UHD at up to 8x or full HD at up to 16x. With a price point upwards of £250,000 it is a very high-end product with a wide feature set. In Sony's own words, "This is the future of live production, designed to satisfy the storytelling aspect of modern sports production.” Deliveries began in mid 2017 and, after careful preliminary evaluation, we invested in several systems for our hire fleet ahead of the FIFA World Cup in Russia.

The world of broadcasting is in constant flux, with undefined boundaries between broadcast, TV, film and interactive media. With a changing consumer demographic now a key influence on the industry, many companies no longer specialise in a single medium, but have had to become adaptable to deliver multiple services through a combination of media.

There is an interesting seminar called Size Matters at the KitPlus Show – organised by the publishers of this fine magazine – at MediaCityUK in Salford on 6 November. It’s a talk by cinematographer Alistair Chapman on the way that camera technology is changing, and in particular the size of the electronic device which creates the image is growing.

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